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Emma @ The Movies (1786 KP) rated Colette (2018) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
Colette has left me bemused. The performances are amazing, the costumes and sets are beautiful, the story is interesting and well told, and yet at 1 hour 51 minutes in length if felt too long. I wasn't bored at any point, I was just really surprised that I was still sitting there watching.
There was an amazing cast. Up until this point I've never particularly enjoyed Keira Knightley roles, after The Nutcracker And The Four Realms I was very close to giving up hope. As Colette she shone. It's absolutely the best piece of acting I've seen from her. Dominic West playing Willy her fame seeking husband was a great bit of casting too. The pair had such chemistry in everything from love to rage. It was also lovely to see Fiona Shaw pop up as Sido, a small role but by no means forgettable.
It's certainly an interesting story of gender norms in history and the literary world of Paris. But beyond the acting, costumes and sets it's not... Exciting? Moving? It's a very good film but just lacks that little something extra to push it to the top. It's difficult to say much more about the film really, I hardly took any notes during the screening. In fact, the only note I made that wasn't related to things I've already mentioned was this: "Four films this year, 50% lesbians."
What you should do
It's a well made film and certainly enjoyable to watch. If you fancy watching a period drama then it's well worth a trip to the cinema for.
Movie thing you wish you could take home
A beautiful second home in the country would be lovely.
There was an amazing cast. Up until this point I've never particularly enjoyed Keira Knightley roles, after The Nutcracker And The Four Realms I was very close to giving up hope. As Colette she shone. It's absolutely the best piece of acting I've seen from her. Dominic West playing Willy her fame seeking husband was a great bit of casting too. The pair had such chemistry in everything from love to rage. It was also lovely to see Fiona Shaw pop up as Sido, a small role but by no means forgettable.
It's certainly an interesting story of gender norms in history and the literary world of Paris. But beyond the acting, costumes and sets it's not... Exciting? Moving? It's a very good film but just lacks that little something extra to push it to the top. It's difficult to say much more about the film really, I hardly took any notes during the screening. In fact, the only note I made that wasn't related to things I've already mentioned was this: "Four films this year, 50% lesbians."
What you should do
It's a well made film and certainly enjoyable to watch. If you fancy watching a period drama then it's well worth a trip to the cinema for.
Movie thing you wish you could take home
A beautiful second home in the country would be lovely.
Gareth von Kallenbach (980 KP) rated Morning Glory (2010) in Movies
Aug 8, 2019 (Updated Aug 8, 2019)
Suddenly fired from a job she worked incredibly hard at, Becky finds herself hitting the mean streets of New York to continue to pursue her dream of producing a television show. The odds are stacked against her when she finds herself producing a failing morning show with challenging anchors, a boss who doubts her skills, and a new romance threatening to distract her already splintered focus.
Diane Keaton brightens the screen looking great while completely selling her role as the eager morning television show anchorwomen, Colleen Peck. The unexpected Harrison Ford adds a rough edge as the once great journalist and now subpar anchorman, Mike Pomeroy. However, it is rising actress, Rachel Adams, as the determined Becky, who stole the show.
Morning Glory offers exactly the amount of oddness one might expect from a film with action star Harrison Ford as a news guy. Yet somehow the story is sweet and mildly uplifting and, on occasion, laugh out loud funny.
The plot is not brilliant, new, or even all that imaginative, still the film is unique. Morning Glory oddly brings to mind “Little Black Book” all be it in a much lighter and less romantically driven tone. In fact the romance element is so light in this film that it is much more likely to fall in the drama/comedy category, with romance taking a backseat to the real focus of the film: the challenges of work-obsessed Becky.
Mashed firmly between an decent episode of the Mary Tyler Moore show and the Dolly Parton classic “9 to 5”, Morning Glory is a one-of-a-kind take on a story that is increasingly all too familiar. Without the unnecessary bells and whistles so often thrown in to modern cinema, Morning Glory keeps the audience watching and sometimes even laughing.
Diane Keaton brightens the screen looking great while completely selling her role as the eager morning television show anchorwomen, Colleen Peck. The unexpected Harrison Ford adds a rough edge as the once great journalist and now subpar anchorman, Mike Pomeroy. However, it is rising actress, Rachel Adams, as the determined Becky, who stole the show.
Morning Glory offers exactly the amount of oddness one might expect from a film with action star Harrison Ford as a news guy. Yet somehow the story is sweet and mildly uplifting and, on occasion, laugh out loud funny.
The plot is not brilliant, new, or even all that imaginative, still the film is unique. Morning Glory oddly brings to mind “Little Black Book” all be it in a much lighter and less romantically driven tone. In fact the romance element is so light in this film that it is much more likely to fall in the drama/comedy category, with romance taking a backseat to the real focus of the film: the challenges of work-obsessed Becky.
Mashed firmly between an decent episode of the Mary Tyler Moore show and the Dolly Parton classic “9 to 5”, Morning Glory is a one-of-a-kind take on a story that is increasingly all too familiar. Without the unnecessary bells and whistles so often thrown in to modern cinema, Morning Glory keeps the audience watching and sometimes even laughing.
Gareth von Kallenbach (980 KP) rated The Road (2009) in Movies
Aug 8, 2019
“The Road” takes us on the post-apocalyptic story of the man, played by Viggo Morganson and the boy (Kodi Smit-McPhee), a father and son doing their best to get along in a world which is no longer suitable for humanity. Constantly teaching his son survival skills and doing his best not to focus on his lost love the man attempts to explain the essence of humanity to his boy who has never known a better world. Add in the ever-present threat of cannibals and you have the film adaptation of this best selling book.
The echoed use of color takes the viewer directly into the unnamed devastation that riddles the world of our two heroes. Moreover, the small sounds from the creeks of not quite abandoned buildings to the harrowing screams of cannibal victims make the world of “the Road” wholly engrossing. Maybe that is the problem.
Riddled with themes of devastation, survival, faith, and family, “The Road” is a piece of cinema significantly different from anything else. With all that said I am not sure this was a horrific and arduous journey one needs to go through.
After I first saw it I didn’t like “The Road”, and I couldn’t figure out who would want to watch this film. Too mature for many audiences and appearing to lack the complication to appeal to intellectual film crowd, it took a few days for me to develop the merit of the film. Now, I can’t stop thinking about the string of moments presented as powerful small scenes that compose “The Road” even though I wish I could.
If you have read the book, then “The Road” delivers a vivid understanding of the story, but before paying to see the film I ask you, is that a story you really want to experience on screen?
The echoed use of color takes the viewer directly into the unnamed devastation that riddles the world of our two heroes. Moreover, the small sounds from the creeks of not quite abandoned buildings to the harrowing screams of cannibal victims make the world of “the Road” wholly engrossing. Maybe that is the problem.
Riddled with themes of devastation, survival, faith, and family, “The Road” is a piece of cinema significantly different from anything else. With all that said I am not sure this was a horrific and arduous journey one needs to go through.
After I first saw it I didn’t like “The Road”, and I couldn’t figure out who would want to watch this film. Too mature for many audiences and appearing to lack the complication to appeal to intellectual film crowd, it took a few days for me to develop the merit of the film. Now, I can’t stop thinking about the string of moments presented as powerful small scenes that compose “The Road” even though I wish I could.
If you have read the book, then “The Road” delivers a vivid understanding of the story, but before paying to see the film I ask you, is that a story you really want to experience on screen?
Emma @ The Movies (1786 KP) rated Johnny English Strikes Again (2018) in Movies
Jul 3, 2019 (Updated Sep 25, 2019)
Our favourite budget Bond is back in the third installment of Johnny English, and it basically "does what it says on the tin." It's amusing and it's exactly what you expect it to be. Nothing groundbreaking.
They've thankfully updated some of the aspects where needed. We've got a tech genius, cyber threats, VR, and we've got health and safety regulations like you wouldn't believe!
Boff is back too and he's the brains behind the outfit managing to make English's buffonary work, as always. To be fair, English does have some pretty good ideas but they seem to either be accidental or poorly executed!
All of the characters are entertaining and their reactions to Johnny's behaviour are entirely inkeeping with what you'd expect. Ophelia getting exacerbated by his evading/dance technique is quite amusing.
My general feeling about this type of humour though is that you can have too much, or to be more accurate, it can go on too long. Some of the skits feel like they tip just slightly over the line between "that's funny" to "is this still going on?"
The audience in Bristol did appreciate one of the particular cyber attacks... "all the trains are trying to stop at Bristol Temple Meads"... yep, that seems about right to us!
What should you do?
You could probably hold out and watch this when it streams, it's quite a short film so it's probably not going to feel like you're getting your monies worth from a cinema ticket.
Movie thing you wish you could take home
Oh so many options, but I think I'll pass on the spy gadgets and go straight for some of Johnny English's dumb luck!
They've thankfully updated some of the aspects where needed. We've got a tech genius, cyber threats, VR, and we've got health and safety regulations like you wouldn't believe!
Boff is back too and he's the brains behind the outfit managing to make English's buffonary work, as always. To be fair, English does have some pretty good ideas but they seem to either be accidental or poorly executed!
All of the characters are entertaining and their reactions to Johnny's behaviour are entirely inkeeping with what you'd expect. Ophelia getting exacerbated by his evading/dance technique is quite amusing.
My general feeling about this type of humour though is that you can have too much, or to be more accurate, it can go on too long. Some of the skits feel like they tip just slightly over the line between "that's funny" to "is this still going on?"
The audience in Bristol did appreciate one of the particular cyber attacks... "all the trains are trying to stop at Bristol Temple Meads"... yep, that seems about right to us!
What should you do?
You could probably hold out and watch this when it streams, it's quite a short film so it's probably not going to feel like you're getting your monies worth from a cinema ticket.
Movie thing you wish you could take home
Oh so many options, but I think I'll pass on the spy gadgets and go straight for some of Johnny English's dumb luck!
KalJ95 (25 KP) rated Uncut Gems (2019) in Movies
Jan 12, 2020
The performance of Sandler's career. (2 more)
Nail biting, stressful viewing.
The resolution is worth the slow burn that climbs and climbs.
Sandler's gem.
Often throughout Uncut Gems, I found myself biting my nails to the nearest inch of my skin. At one point, closing in an hour, I realised I started to bleed from my index finger. The blood hadn't even occurred to me until the credits rolled, took a deep breath, and looked. The stressful nature of a character like Howard Ratner was difficult to understand, whether you sympathized with him or not. I neither routed for his destructive behaviour, nor wanted harm to come his way. Sitting on the fence didn't feel comfortable either. And this is why Uncut Gems is so special.
(No spoilers ahead.)
Howard's spiral towards more trouble is so nerve inducing it's hard to watch, even more hard to look away. His bad decision making creates a cause and effect chain, and often when you think his luck will turn around, he weasels and worms his way into even more trouble, all created by his constant addiction to make it big. Undeniably, this is all down to a masterclass from Adam Sandler.
The Safdie Brothers opened a can of worms, and Adam Sandler brought everything out. His slow burn decent towards losing it all is all the effective because he brings so many layers to the role. Ratner is a creep, a loser, a cheat, and a liar. He's also ambitious, outspoken, and sometimes even sympathetic. I never liked him as a person, but I did feel sorry for him.
I've seen some fine performances this year in cinema, and Sandler is most definitely up their with Joaquin Phoenix.
Uncut Gems is pulsatingly good, exhausting and draining, and one of the best thrillers you'll see in years. Adam Sandler, you're redeemed for Jack and Jill.
(No spoilers ahead.)
Howard's spiral towards more trouble is so nerve inducing it's hard to watch, even more hard to look away. His bad decision making creates a cause and effect chain, and often when you think his luck will turn around, he weasels and worms his way into even more trouble, all created by his constant addiction to make it big. Undeniably, this is all down to a masterclass from Adam Sandler.
The Safdie Brothers opened a can of worms, and Adam Sandler brought everything out. His slow burn decent towards losing it all is all the effective because he brings so many layers to the role. Ratner is a creep, a loser, a cheat, and a liar. He's also ambitious, outspoken, and sometimes even sympathetic. I never liked him as a person, but I did feel sorry for him.
I've seen some fine performances this year in cinema, and Sandler is most definitely up their with Joaquin Phoenix.
Uncut Gems is pulsatingly good, exhausting and draining, and one of the best thrillers you'll see in years. Adam Sandler, you're redeemed for Jack and Jill.
JT (287 KP) rated The Invisible Man (2020) in Movies
Mar 1, 2020
Excellent tension (1 more)
Brilliant score
Suprise Thriller a Real Hit
What I love about cinema is that you can go in expecting one thing and come out experiencing another - which was exactly how I felt coming out of The Invisible Man.
The film stars Elisabeth Moss as Cecilia who is desperate to escape the grasp of her abusive partner Adrian (Oliver Jackson-Cohen) and does so by way of a tense opening that is devoid of any dialogue. Instead, as an audience we are holding our breath as she tiptoes around the house.
When news comes that Adrian is dead and has left her a small fortune she straight away becomes suspicious and is convinced he has orchestrated the whole thing. As time passes Cecilia is stalked by an invisible force that those close to her believe is simply PTSD and all in her head.
It's written and directed by Leigh Whannell who is probably one of my favourite cinematic writers. Fans of Saw will recognise him as Adam, the poor bastard who gets locked in the bathroom at the films climactic ending [apologies if you haven't seen that yet, but it has been 16-years].
At it's core The Invisible Man echos a clear message. Cecilia's experiences of being gaslighted by Adrian is a serious topic that many women from abusive relationships will have experienced first hand. The psychological trauma that Cecilia goes through makes her doubt her own sanity.
The best part about the film is the way that Whannell is able to create a sense of unease. In a number of scenes we are left looking at an empty corner of a room, or a chair. When the camera pans it is because it is going to focus on something that is there - but of course there never is.
The film stars Elisabeth Moss as Cecilia who is desperate to escape the grasp of her abusive partner Adrian (Oliver Jackson-Cohen) and does so by way of a tense opening that is devoid of any dialogue. Instead, as an audience we are holding our breath as she tiptoes around the house.
When news comes that Adrian is dead and has left her a small fortune she straight away becomes suspicious and is convinced he has orchestrated the whole thing. As time passes Cecilia is stalked by an invisible force that those close to her believe is simply PTSD and all in her head.
It's written and directed by Leigh Whannell who is probably one of my favourite cinematic writers. Fans of Saw will recognise him as Adam, the poor bastard who gets locked in the bathroom at the films climactic ending [apologies if you haven't seen that yet, but it has been 16-years].
At it's core The Invisible Man echos a clear message. Cecilia's experiences of being gaslighted by Adrian is a serious topic that many women from abusive relationships will have experienced first hand. The psychological trauma that Cecilia goes through makes her doubt her own sanity.
The best part about the film is the way that Whannell is able to create a sense of unease. In a number of scenes we are left looking at an empty corner of a room, or a chair. When the camera pans it is because it is going to focus on something that is there - but of course there never is.
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